101% Funded

0%

Target: €1600

100%

€1,620 Raised

Complete

38 Funders

Love In The Title by Hugh Leonard

By Martin Burns Jr

description

Hi all, we're Room To Move Theatre Company. For our next production, Hugh Leonard's "Love In The Title", we need your help. We're hoping to raise €1,600, which would go a long way towards paying for the rights of the play and the hire of the New Theatre, Temple Bar, Dublin. Any contribution, big or small, is welcome and genuinely appreciated.

Room to Move Theatre Company are a relatively new, independent and unfunded theatre company, founded by Martin Burns (producer), Dave Ferguson (director) and April Bracken (actor). We have one production already under our belts, 2011's critically-acclaimed sell-out show 'Lovers' by Brian Friel. We first performed Lovers at the Powerscourt Centre, Dublin, in 2010, as a three-show production with all profits going to the Dublin Simon Community. Following positive feedback, we brought the play to the New Theatre for two weeks in the summer of 2011. The production was a resounding success, with sell-out shows almost every night and glowing reviews from publications such as The Sunday Times and entertainment.ie, amongst others. We place the singularity of performance at the heart of the theatrical experience and pursue a style of theatre which is fresh, immediate and embraces the uncertainty that live performance should bring.

'Love In The Title' is taking the The New Theatre stage from May 14th to June 2nd, to be directed by Dave Ferguson. On a visit to the Irish countryside to do research for her thesis, Katie has a fantastical meeting among herself, in 1999 at age 37; her mother, Triona, at age 30 in 1964; and her mother's mother, Cat, at age 20 in 1932. Through these three women, Leonard explores the many social changes in Ireland within one century. As they talk, bicker, insult and argue across the generations, aspects of their futures/pasts are revealed and some of their mother-daughter conflicts ease just a little. The conceit of having characters converse across time pays wonderful comic dividends with one generation’s slang meaningless to another.

"Love In The Title" is an amazing play and, with a little help, we're sure to bring you an amazing production.

Thank you!

rewards

activity

Humble Beginnings

I had a mixture of feelings today as we embarked on our first round of auditions for the forthcoming play 'Love In The Title' by Hugh Leonard. Myself and two colleagues are producing the show, our second as a theatre company to date. Our first, 'Lovers' by Brian Friel was a great success, critically and with audience members, which was a little surprising considering we weren't too sure what we were doing. I was excited for these auditions, humbled by the huge response our call for new actors received. I was nervous as it meant the beginning of a hectic two months, calling on the good will of everyone we know to step in and mind my son while I work. If you're reading this and you know me personally, YOU WILL BE ASKED. I was also feeling a little sentimental, remembering our humble beginnings over two years ago. I had just found out I was pregnant. Among the usual concerns and worries, I knew that the freedom to faithfully, whole-heartedly pursue a career as an actor had disappeared. What was a dream became an impossible concept. The few things I had done since graduating were with little or no pay, which is a necessary stage in gaining experience and progressing in the industry, but one I could no longer afford. A friend, Martin Burns Jr, who I had been to college with said that we should do some acting together before I had the baby, so I could tread the boards one last time. We had worked on Friel as a pair at some stage during college, and one day I got a text from Martin that was a pure flash of inspiration; we do Lovers. The play centres on two characters, Joe and Mag. They are seventeen, living in 1960's Ireland and engaged because Mag is pregnant. And so at four months in my belly, my son was on stage for the first time. I found out that we were having a baby boy the same day as the play’s opening night. The first “showcase” was a modest affair, as we had no budget. We had two other actors, and a first-time director, David Ferguson. That was it. We rehearsed on living room floors. Bought our own costumes in Guineys. We performed for three nights in the Powerscourt Gallery in Dublin, any profit from ticket sales going to the Simon Community, a Dublin based charity for homelessness. I considered my chapter with theatre closed. I met David again when I was eight months pregnant and tentatively agreed to a two week stint the following June. This time around we still had no budget or reputation as a company, but we did have David's unshakeable faith that our show was worthy of a professional run, and that it had potential to be a success. My son was five months old when we began rehearsal. Friends, family, and a patient partner all chipped in to ensure himself was disturbed as little as possible throughout the process. David and cast kindly worked around a baby's schedule, and Dave's gamble paid off. We put on a sold-out, five star production(entertainment.ie). It was overwhelming at times, to do a twelve hour stint of motherhood to go straight into performing on stage, but the price was fair for the joy of being able to act AND have my beautiful son to return home to. We are a small theatre company, with big ambitions. Our second show, ‘Love In The Title’ is a three week run, and we want to continue and expand. With any luck we'll actually be paid to pursue our theatre goals by the time my son is old enough to see me perform. And that, I suppose, is the new dream. Please check out our fund-it campaign for ‘Love In The Title’, 9 days left. http://www.fundit.ie/project/love-in-the-title-by-hugh-leonard

Humble Beginnings

I had a mixture of feelings today as we embarked on our first round of auditions for the forthcoming play 'Love In The Title' by Hugh Leonard. Myself and two colleagues are producing the show, our second as a theatre company to date. Our first, 'Lovers' by Brian Friel was a great success, critically and with audience members, which was a little surprising considering we weren't too sure what we were doing. I was excited for these auditions, humbled by the huge response our call for new actors received. I was nervous as it meant the beginning of a hectic two months, calling on the good will of everyone we know to step in and mind my son while I work. If you're reading this and you know me personally, YOU WILL BE ASKED. I was also feeling a little sentimental, remembering our humble beginnings over two years ago. I had just found out I was pregnant. Among the usual concerns and worries, I knew that the freedom to faithfully, whole-heartedly pursue a career as an actor had disappeared. What was a dream became an impossible concept. The few things I had done since graduating were with little or no pay, which is a necessary stage in gaining experience and progressing in the industry, but one I could no longer afford. A friend, Martin Burns Jr, who I had been to college with said that we should do some acting together before I had the baby, so I could tread the boards one last time. We had worked on Friel as a pair at some stage during college, and one day I got a text from Martin that was a pure flash of inspiration; we do Lovers. The play centres on two characters, Joe and Mag. They are seventeen, living in 1960's Ireland and engaged because Mag is pregnant. And so at four months in my belly, my son was on stage for the first time. I found out that we were having a baby boy the same day as the play’s opening night. The first “showcase” was a modest affair, as we had no budget. We had two other actors, and a first-time director, David Ferguson. That was it. We rehearsed on living room floors. Bought our own costumes in Guineys. We performed for three nights in the Powerscourt Gallery in Dublin, any profit from ticket sales going to the Simon Community, a Dublin based charity for homelessness. I considered my chapter with theatre closed. I met David again when I was eight months pregnant and tentatively agreed to a two week stint the following June. This time around we still had no budget or reputation as a company, but we did have David's unshakeable faith that our show was worthy of a professional run, and that it had potential to be a success. My son was five months old when we began rehearsal. Friends, family, and a patient partner all chipped in to ensure himself was disturbed as little as possible throughout the process. David and cast kindly worked around a baby's schedule, and Dave's gamble paid off. We put on a sold-out, five star production(entertainment.ie). It was overwhelming at times, to do a twelve hour stint of motherhood to go straight into performing on stage, but the price was fair for the joy of being able to act AND have my beautiful son to return home to. We are a small theatre company, with big ambitions. Our second show, ‘Love In The Title’ is a three week run, and we want to continue and expand. With any luck we'll actually be paid to pursue our theatre goals by the time my son is old enough to see me perform. And that, I suppose, is the new dream. Please check out our fund-it campaign for ‘Love In The Title’, 9 days left. http://www.fundit.ie/project/love-in-the-title-by-hugh-leonard

funders (38)

There are 34 public funders of this project


There are 4 anonymous funders of this project

anonymous

anonymous

anonymous

anonymous